Inventing Cinema. Machines, Gestures and Media History

269 Pages·2019·5.961 MB·English

by  Benoît Turquety

INVENTING CINEMA
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Benoît Turquety
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Inventing Cinema
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Cinema and Technology
Cinema and Technology focuses on the emerging field of study on the history of
film technology and its impact on the way the world is experienced, rationalized
and apprehended. The materiality and nature of film devices, their function and
use in diverse industrial, educational, and social contexts, and the integration of
film technologies as an enduring element of consciousness, forms the basis of the
scholarship presented in our books.
Series editors:
Santiago Hidalgo (Université de Montréal, Canada), André Gaudreault (Université
de Montréal, Canada)
Editorial Board Members:
Richard Bégin (Université de Montréal)
Marta Boni (Université de Montréal)
Marta Braun (Ryerson University)
Andreas Fickers (Luxembourg University)
Tom Gunning (University of Chicago)
Katharina Loew (University of Massachusetts Boston)
Annie van den Oever (University of Gronigen)
Benoît Turquety (University of Lausanne)
Cinema and Technology  is published in association with the Laboratoire
CinéMédias at Université de Montréal and the TECHNÈS International Research
Partnership on Cinema Technology, supported by The Social Sciences and
Humanities Research Council of Canada Partnership Grant, as well as The
Canada Research Chair in Cinema and Media Studies.
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Inventing Cinema
Machines, Gestures, and Media History
Benoît Turquety
Translated by Timothy Barnard
Amsterdam University Press
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Originally published as: Inventer le cinéma. Épistémologie : problèmes, machines, Éditions
L’Âge d’Homme (Lausanne), 2014.
© 2014 Benoît Turquety / Éditions L’Âge d’Homme
Series logo created by Erwan Geffroy with a font by Isaac González
Cover illustration: Film drying at Kinemacolor House, Wardour Street, London, c. 1910s, printed
with permission from the Science & Society Picture Library
Cover design: Coördesign, Leiden
Lay-out: Crius Group, Hulshout
isbn 978 94 6372 462 3
e-isbn 978 90 4855 046 3
doi 10.5117/9789463724623
nur 670
© B. Turquety / Amsterdam University Press B.V., Amsterdam 2019
All rights reserved. Without limiting the rights under copyright reserved above, no part of
this book may be reproduced, stored in or introduced into a retrieval system, or transmitted,
in any form or by any means (electronic, mechanical, photocopying, recording or otherwise)
without the written permission of both the copyright owner and the author of the book.
Every effort has been made to obtain permission to use all copyrighted illustrations
reproduced in this book. Nonetheless, whosoever believes to have rights to this material is
advised to contact the publisher.
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1. That the instruments be very accurate, so that the expense not be
pointless and that there be no chance of error.
2. That their cost not be increased by superfluous adornment in order
that they be used more frequently by putting them within reach of
people of modest means as much as possible.
3. That their construction be the simplest, the most natural and most
solid possible, in order for them to be copied or repaired at the least cost,
with the least learning, and with the least level of skill.
4. That they be applicable to the greatest number of applications, when
the extent of their use does not detract from their simplicity, so as not to
multiply their number unnecessarily and in order to save expense and
usefully and pleasingly to provide the means for varying experiments of
the same kind.
‒ Abbé Jean Antoine Nollet, Programme, ou Idée générale d’un cours de
Physique expérimentale, avec Un Catalogue raisonné des Instrumens qui
servent aux expériences, Paris, 1738
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In memoriam Jules Carpentier
For François Albera
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Table of Contents
Acknowledgements 9
Introduction: The Problems of Digital Cinema 11
1. The Why and How of Machines 25
2. Invention, Innovation, History 75
3. The Invention of the Problem 103
4. The Invention of the Cinématographe 151
5. ‘Natural Colour Kinematography’, a New Cinema Invention :
Kinemacolor, Technical Network and Commercial Policies 209
6. Epilogue 231
Bibliography 249
Index 265
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Acknowledgements
Firstly, I would like to thank the Section d’histoire et esthétique du cinéma
at the Université de Lausanne, the Sandoz Family Foundation, and the
TECHNÈS International Research Partnership on Film Techniques and
Technologies.
This volume took shape through research carried out under the aegis of
the Lausanne section’s research group ‘Dispositifs’, led by Maria Tortajada.
In this sense, it enters into dialogue in particular, explicitly or implicitly,
with the individual or joint work of François Albera and Maria Tortajada. I
can only thank them as warmly as possible for their availability and interest
and for the exactingness and amiability they always demonstrated in our
intellectual exchanges.
Some underlying elements of the ideas found in this volume took root
in a doctoral seminar at Université Paris 8 Vincennes – Saint-Denis that
I participated in several years ago, when I was developing my doctoral
dissertation. This seminar was led by Guy Fihman and Claudine Eizykman
and I extend my thanks to them here.
The TECHNÈS framework has also been important for the development of
this book. I would like to thank, in particular, Santiago Hidalgo and André
Gaudreault for their sustained enthusiasm.
Very warm thanks to Werner Nold, who worked as a film editor at the
National Film Board of Canada for more than 30 years, and to his wife
Lucette Lupien. Our discussions were fascinating, their information was
irreplaceable, the machines were splendid, and our friendship invaluable.
My thanks also for responses to my questions from: Jean-Marc Lamotte,
head of the heritage department at the Institut Lumière in Lyon; to Laurent
Mannoni, director of cultural heritage and conservation of cinematographic
technology at the Cinémathèque française; to Marie-Sophie Corcy, head of
collections in the field of communication at the Musée des Arts et Métiers;
and to Todd Gustavson, director of the collection of devices at the George
Eastman House, now the George Eastman Museum.
Finally, my thanks, once again, to Caroline Zéau, for everything.
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